Meet & Greet: Soundgarden @ Tampa, FL 08.11.2014

We had a chance to have a meet and greet with Chris Cornell before Soundgarden's set.  We had just driven up to Tampa from the Soundgarden show in West Palm the previous night. 

This was our second time getting to see Chris backstage, and the first time in our home state.  Little Chris and Toni were also there, running in and out of the room where they held the meet and greet. 

Our previous meet and greet was at an Austin Soundgarden show with one other couple. This was the first time where we would be alone with just Chris and, intermittently, the kids.  

Photofantasm wasn't complete yet so we printed out the would-be cover of the book, and made a homemade poster for Chris to sign.  

Here is a mostly complete transcript of our meeting...


Chris: How are you ? Good to see you

Meghan: Likewise 

Chris: What do you got ?

Meghan: Oh ! Stuff to sign

Chris: Oh, ok

Meghan: You wanna see ?

Chris: Sure !

Meghan: Alright...So, a little homemade poster.


(Chris stares at the poster, reading the caption.  Can’t quite tell if he likes it or is maybe slightly annoyed by it...)

Chris: That’s cute

Meghan: And then...that’s for the...that’s going to be the cover of the Telephantasm book.  I mean we’re not gonna include the autograph in the book...

Chris: Oh ok

Meghan: We just wanted a....picture

Chris: How’ve you guys been ?

Meghan: Been Great !

Chris: Good

Meghan: How ‘bout you ?

Chris: Good !

Meghan: It’s so great to like finally see you like in our home state

Chris: Yeah ?

Meghan: You guys are like a very expensive favorite band to have

Chris: Yeah...

Meghan: We’ve seen Soundgarden like somewhere around 15 times and we live in Florida.

Chris: Uh huh

Meghan: So it’s, great to see you guys here

Chris: Where’s the farthest you’ve gone ?

Meghan: Seattle

Chris: (thinking about it) yeah, i guess, that makes sense, i guess. I was guessing a different country.  Where, what part in Florida ?

Meghan: Miami

Chris: Ah, cool.

Meghan: (yeah)

Chris: ...

Meghan: ...

Jeff: ...

Chris: ...what else we doin ? Where’s your book ?

Meghan: Well the book itself isn’t out yet

Chris: uh huh, it’s not done yet ?

Meghan: It’s...we’re flying to Michigan in September to kind of finalize it with, look it over before it goes to print

Chris: Wow

Meghan: Yeah, we’re really excited about it


Jeff: I don’t know if you remember Mike and Jaye...English ?

Chris: Yeah

Jeff: Yeah we’re planning to meet with them...and finish it....(at this point realize there there was no reason to say the one thing I’ve said so far)

Chris: Yeah...did I meet them ?

Jeff: Yeah

Meghan: Yeah

Chris: I’m trying to place them

Jeff: You met in New York, at least, among other times

Chris: Like THIS met them ? Or...

Jeff: No it wasn’t...I think this was outside of any concerts

Chris: Oh okay, yeah, I know their names, just trying to place their faces

Meghan: Yeah we met them at a Seattle songbook show and ever since we’ve gotten together to see you

Chris: Oh you do ?

Meghan: They’re a lot of fun

Chris: Which Songbook show ?

Jeff: The Moore ? 

Chris: Yeah, that was fun. Is that the only Songbook show you’ve gone to ?

Jeff: NO...we went to a couple of the ones in New York [Chris: Oh...] AND Miami 

Chris: Yeah...

Jeff: So we HAVE seen you in Miami like ten times, with Audioslave and solo...we just haven’t seen Soundgarden...

Chris: Yeah the last Songbook show, in Seattle was great. The Moore one was pretty good. The Moore one was rowdy...I mean, for a Songbook show



Meghan: Yeah, I wouldn’t imagine a Songbook show to get particularly rowdy, it’s...

Chris: Yeah, well that one...rowdy meaning...i think we were standing room, and it was packed...

Meghan: Yeah

Chris: And it changes how it’s more dense, so it’s not quite a airy. It doesn’t sound as good, when it’s packed in like that, worked out and that was a fun show

Jeff: The Songbook album Seattle at the Moore

Chris: Is it ? Yeah ! That makes sense. That’s why it looks so cool...I don’t play any shows really, where people aren’t...don’t have seats.   So everyone is sitting, or maybe standing at their seat

Meghan: The other Songbook shows seemed pretty, pretty, you know, everyone sitting at their seat...

Chris: Yeah

Meghan: The Moore being the exception

Chris: Yeah, I think I’ve only done a couple shows like that.  I mean, where it was a theater, but there weren’t seats...that was fun

Meghan: What would you say was like your favorite place to play ?

Chris: I dunno....I don’t think I have one, because what happens is you know you’ll have like this amazing experience at some venue, in some city, whatever it is. And um, you’ll go back, remembering how awesome it was and then it’s not the same, you know ? 

But then some other place, that you’re like...well, Toronto’s been really, I don’t know if I thought that way of THIS show (NIN Tour) in Toronto just now that we just played, but the Songbook show in Toronto...the first one I did was amazing and I’d always talk about that.  And then when I went back, I thought well, it’s not going to be as good as the first one, and it was like as good or even better.  

Places like...Austin, is always good. 

Meghan: Yeah, we did, the meet and greet in Austin, last tour

Chris: yeah.  Austin is always good. Um....Seattle’s pretty good...not always, but I dunno, I think for me it’s always pretty good.  Soundgarden is sort of...I’s hard because it’s like hometown shows where everyone there has like four guests, you can’t really just relax, and enjoy the show.

Texas, I haven’t played Songbook much through there, it’s like, Dallas has the House Of Blues, which I don’t do. I did it once, and I hated it. But like rock shows in Texas are always good. 

I did like some solo rock shows in Austin with my solo band that were fuckin’ incredible. It was like this outdoor...almost like a pen (laughs), it almost looked like something you’d put livestock in at some point, and it’s this out door, rocky, like...dirt...parking lot sized field. So I’ve played there a few times

I didn’t really think about this tour schedule that much. I thought about it a little bit but I wasn’t really really looking at the schedule

South Florida...Texas...

Felt good last night with the set. We never play know, doing 15 songs. It’s like, an hour and.....10 minutes ? And it’s usually like 2....15....and the Songbook is like 2:45...

Another thing about this tour....we’ve never done more than 2 shows in a row...that’s the first time we’ve ever been on a tour where we play more than that


(Chris signs our stuff)

Chris: Alright kiddos....good to see you....have fun

Meghan: Happy belated 50th

Chris: Thank you, thank you. Great to see you

Meghan: Likewise, probably won’t be the last. Thanks again for everything

Kerrang Magazine: "Chris Cornell - A Life, Through The Ages And Pages Of Kerrang!"

Source: Kerrang!


In memory of the legendary vocalist who passed away one year ago today.

One year on from the tragic loss of Chris Cornell, his incredible music and legacy continues to captivate and inspire. It always will. From Soundgarden and Temple Of The Dog to Audioslave and his solo career, he led an extraordinary life in music – and Kerrang! was there to witness much of it first hand. If there was one common thread to his interviews with us over the course of more than a quarter of a century, it was his constant desire to draw attention to the gulf between the reality of a rockstar’s life versus the public’s preconceptions. Throughout his career, he was deeply unimpressed by fame; a man trying to locate whatever truth he could, amid the ever-expanding mythology of rock’n’roll. Here we look at his story as it appeared in our pages…  


Having already created quite the buzz on the back of Ultramega OK and Louder Than Love, the first time Chris Cornell graced the cover of Kerrang! it was as part of a question we posed: “Are these men from Seattle the future of metal?” Given Soundgarden had just released Badmotorfinger, a record that even in 2018 still sounds like it’s travelled considerably far back in time to the present day, it was perhaps a redundant question. In our cover feature, K! scribe Don Kaye unequivocally labelled Soundgarden “the most brilliant band to hit the planet since Slayer unleashed Hell Awaits” before meeting the band in New York. Even as early as then, Chris Cornell boasted a healthy scepticism of fame. “One day you’ll hear a lot of positive things and then the next day you’ll hear negative things,” said Chris. “It inhales and exhales. Sometimes there are moments when it seems like there’s this sort of Soundgarden hype ready to burst and rain down on everyone, and then other times it seems like we’re still lost…”

APRIl 1992
About that “Soundgarden hype”… In April 1992, it had well and truly struck. When K! reconvened with the band, they were touring American arenas supporting a plucky bunch of underdogs called Guns N’ Roses. Some in the alt.rock community saw the pairing as something of a betrayal; grunge, after all, was supposed to be the antithesis of the debauched legacy of ’80s rock. “A lot of it is blown out of all proportion,” Chris told K! journalist Stefan Chirazi about life on the road with Axl Rose and co.. “With Guns, a lot of the reports about how they handle their success and what they do aren’t true.” While he played down any notion of rock excess, he did note that being called a rock god was starting to rankle. And it would continue to do so from then one.

When K! travelled to America to catch up with Soundgarden on tour with Neil Young in 1993, we were greeted by a freshly shaven-headed Chris Cornell. Naturally, our cover story bore the headline: Shaved ‘N’ Dangerous. Hey, it was a different time. A new hairstyle wasn’t the only change. They had already started road-testing some brand-new songs with names like Spoonman, Kickstand and My Wave, but when it came to the title of Badmotorfinger’s follow-up they weren’t giving up the goods. “We were thinking about Three Years, Eight Days And Four Minutes In The Life Of Arrested Development,” joked Chris to Don Kaye. “Or we might just cop out and call it Soundgarden.” It was, of course, actually soon to be called Superunknown – the record which would help define a) Soundgarden to the masses b) grunge c) the ’90s d) an exemplary way of selling millions of copies without compromising e) any album collection worth its name.


Soundgarden were in Melbourne when K! next checked in with them. Superunknown wasn’t out and yet the band, like Nirvana and Pearl Jam, were struggling with the trappings of the music business. More than ever before, they were aware that the simple act of being themselves in the spotlight was fraught with difficulty. “A lot of the public wouldn’t want to meet us,” Chris explained to K! writer Morat. “Because we won’t always be agreeable or happy. It’s not that we don’t appreciate fans; it’s just that we’re that way with each other, friends and family sometimes. We can’t pretend, we can’t be the game show hosts…”  

A lot had changed in 1994. With Superunknown unleashed into the world – boasting a gargantuan single in the form of Black Hole Sun – Soundgarden were officially one of the biggest bands in the world. But it was also the year that grunge lost its avatar. As the world continued to ponder what, specifically, drove Kurt Cobain to take his own life, Chris – finding parallels in his own experiences as a frontman – was quick to dispel any theory that reduced Kurt’s death to one overriding cause. “It wasn’t just: this guy’s a heroin addict and it made him crazy and he killed himself,” he told K!’s Morat in New Orleans. “Or: this guy gets bothered by teenagers and he hates it so killed himself.”  

MAY 1996
In 1997 Soundgarden imploded, calling it a day shortly after escalating tensions in the band came to a head with one disastrous show in Honolulu, Hawaii. But before all of this, K!’s Morat headed to Seattle in a feature that found the band in high spirits but not dysfunctional on the back of their perennially overlooked fifth album Down On The Upside (when was the last time you listened to Tighter & Tighter? Do it. Do it now). Just as our humourous photoshoot drew attention to the playful side of a band so often presented as consummate miserablists, so too did their quotes. “My friends are cool about my money. But then I did give them all motorcycles…” deadpanned Chris.


Two years later, Chris Cornell joined K! to reflect on what happened to Soundgarden, stressing how lucky they had been to have the success they did while also expressing regret that they didn’t enjoy the experience more. It wasn’t all sad news, however. Our September 1999 cover also heralded the launch of his solo career with his bona fide classic Euphoria Morning, a bruised, haunting debut. Speaking to K!’s Morat in a darkened Hollywood hotel room, Chris reflected candidly upon his childhood and the role depression had played in his life and music. “There’s times when you think, ‘Fuck, I wish this didn’t mean anything to me, I wish I was one of those happy people,’” he said. “They don’t get the low-lows. But then they don’t get the high-highs, and I would never trade that.”

“The first time I walked into the room when those guys were just jamming, it sounded incredible,” Chris Cornell told K! writer Ben Myers of the time he stumbled into seeing Rage Against The Machine men Tom Morello, Timmy C and Brad Wilk. “After some brief thought, I realised I couldn’t come up with a reason good enough not to do this band.” And so Audioslave was born. For some, pairing the howling voice of Soundgarden with the incendiary musical backbone of RATM was an idea that was simply too good to be true. No way could they live up to that kind of hype, they argued. Imagine how refreshing it was, then, that the mammoth classic rock strains of their 5K-rated self-titled debut lived up to fans’ wildest dreams. And then some.


MAY 2005
When K!’s Alexander Milas joined Chris, Tom Morello, Timmy C and Brad Wilk for our cover story in 2005, they were a band growing into their own skin. And that included the decision to finally embrace their combined heritage. After initially ignoring the wealth of material at their disposal, Audioslave had taken to covering both Soundgarden and Rage Against The Machine songs. Fans were going wild. Not only were they resurrecting the likes of Spoonman and Killing In The Name live, they were also preparing to unleash their second outing Out Of Exile, an album that saw Chris tackling the recording sober. “Getting cleaned up changed a lot for me,” said Chris. “I’m not the kind of person who wants to know or sit back and analyse things, but I’m a new man now…” Audioslave would return the following year with their final album, the perma-underrated Revelations, before disbanding shortly afterwards. Their legacy includes some of the greatest songs of the ’00s.  

When Chris Cornell united with legendary hip-hop producer Timbaland for a solo album of futuristic R&B in 2009, it drew reactions ranging from bemusement to downright anger. Those questioning and/or mocking him were soon forced to eat their words in the form of the incredible reunion of Soundgarden. Their comeback record, King Animal, captured the band’s unique musical alchemy in world-beating fashion, from the twisted, unwinding riff of Non-State Actor to the disenchanted beauty of Black Saturday. The world had missed them, and they had missed each other. “It’s been a long time coming,” Chris told K! writer Tom Bryant. “After 15 years, we got back together and made one of our best albums. We still have something else to say about rock music that no-one else is saying.”


In 2015, in his final interview with Kerrang!, Chris Cornell was in an inquisitive mood ahead of the release of his fourth solo album, Higher Truth. In a conversation that ranged from the distractions of the Internet age to mankind’s need for comfort in religious higher powers, he was a man seemingly more in love with the potential of life than ever before. “Now I’ve started having children I was surrounded by it all the time and thinking about it all the time,” he told your correspondent. “I think we start out just fine [in life]. We start out very connected with the wonder and amazement and miracle of the fucking world. But we get corrupted by a lot of insecurities and self-consciousness, and the pressure of surviving and the strange selfish nature we have with other people, no matter how close we are.” 

MAY 2017
On May 18, 2017, Chris Cornell took his own life, a loss that continues to reverberate around the rock community. “No-one sings like you anymore,” read the coverline of our tribute issue. But with Chris Cornell, it wasn’t just how he sang, but what he sang. How, time after time after time, his words offered a sense of hope to others even when he struggled to find it for himself. It is for that very reason memories of him will always live on. ‘The past is like a braided rope,’ he sang to us on 2016’s Through The Window. ‘Each moment tightly coiled inside.’

Words: George Garner

[UPDATED] New Chris Cornell Song "You Never Knew My Mind" To Debut On Beats1 Radio Today


Original Post

The project takes poems written by Johnny Cash and puts them to original music.  Here are the original poems "You Never Knew My Mind", which is Chris's song, as well as "I Never Knew Your Mind"

Howard Stern Briefly Talks About Feeling A Connection To Chris Cornell, Understanding Black Hole Sun

From this morning, Howard Stern briefly talks about listening to Chris Cornell over his break last week and hearing the music in a new light.

Listen To Chris Cornell's Interview + Performance Compilation From The Howard Stern Show

Interview: Tom Morello Asked About Unreleased Audioslave Material

Update: From Kerrang! Interview 10/2018

Original Post:

We've heard before that there are a few recorded and unreleased Audioslave songs.  Even from the very beginning, the band stated they had over 20 songs, 14 of which made it to their debut album. 

We've heard a couple songs live that aren't on any of the 3 albums or separate singles, and "Turn To Gold" from the original leaked demos never made an official release either.

This Chris Cornell solo performance of "Roads We Choose" from Atlantic City, NJ in 2011 also has Chris explaining that this song was written and recorded by Audioslave during the Out of Exile sessions but never made it to that album or Revelations.  Chris then recorded a separate version for Carry On, although it didn't make that album either. 


Music Radar [click for full interview]

In a new interview with Tom Morello, Michael Astley-Brown asks about unreleased Audioslave songs and learning from Chris Cornell:

The late Chris Cornell was an unsung talent as a guitarist; did you learn anything from him when it came to guitar playing?

“He had a very wonderful and unorthodox songwriting talent - it was sort of part-Beatles, part-Black Sabbath, but he had this internal non-4/4 time signature clock in him that was really interesting, and it’s in some of those Audioslave songs where he would contribute chord progressions.

“One of the most difficult parts of any Audioslave song for me to play was the bridge of Like A Stone, which was Chris’s chords. Because it was just so counterintuitive to me; he just had very unique chordal inclinations that made for beautiful music, then he would weave his gorgeous melodies on top of them. And still to this day, I have to have a cheat sheet onstage when we do the tribute to Chris, playing Like A Stone - I just have to make sure I don’t mess up the bridge. [laughs]”

There's still some unreleased Audioslave material in the vault; will that ever see the light of day?

“I hope it does, because there’s great Audioslave material in the vault. It’s so sad: we had talked about playing more Audioslave shows and releasing that material and doing something together in the not-too-distant future.”


Chris Cornell “Paint The Trail” Mural Fence - Photos + Video Time Lapse From The Artist

Chris Cornell’s mural, part of the “Paint The Trail” tribute located at:
1399 N Ronald Reagan Blvd
Longwood, FL  32750

Artist: Jeff Sonksen

Facebook Page - Paint The Seminole Trail

Orlando Sentinal piece  

Article(s): 25 Years Of Talking To Chris Cornell For Spin

Source: Spin
Author: Various Spin Staff

Over the last three decades Spin spoke to Cornell again and again—as he rose to grunge superstardom with Soundgarden, as he branched out with a solo career, and when he returned alongside members of Rage Against the Machine as Audioslave. In remembrance, we’ve gathered this collection of pieces from the archives, some available to read online for the first time. Below, find cover stories on Soundgarden from 1994, 1996, and 2010; Cornell’s revealing 2006 interview about addiction and Audioslave; our 2014 oral history of Superunknown; and more treasures that give a look into the lifetime of a definitive figure of alt-rock.

New Boots Added - New Photo Gallery Style On What's Mine Is Ours Pages

What's Mine Is Ours pages now feature a different photo thumbnail gallery and redesigned pages. 

Added the following boots to Toy Box:

Chris Cornell

- Walmart Soundcheck
        Cleaning My Gun
        As Hope And Promise Fade
        Chris Cornell Interview
        Can't Change Me
        All Night Thing
        Scar On The Sky


- Philadelphia, PA 05.10.1992
      Searching With My Good Eye Closed
      Hands All Over
      Face Pollution
      Room A Thousand Years Wide
      Ugly Truth
      Hunted Down
      Drawing Flies
      Incessant Mace
      Rusty Cage
      Mind Riot
      _guitar solo_
      (War Pigs) Beyond The Wheel
      Jesus Christ Pose
       Slaves And Bulldozers
       Tab (jam w Monster Magnet) - audio only just for this part

- Later with Jools Holland 11/2012
       Been Away Too Long
       Chris Cornell Interview
      Rusty Cage

Temple of the Dog

- Alpine Valley (PJ20) Director's Cut Video
- Seattle Night 2 audio (2016)


Article: Remembering Chris Cornell When He Was On The Brink Of Soundgarden Dropping 1991's Badmotorfinger

Photo: Kevin Winter/Getty
Author: John Roderick

On September 5 and 6, 1991, Soundgarden played two Seattle shows about a month before the official release of their third LP, Badmotorfinger. The venues were the Offramp (now El Corazon/Funhouse), and the RKCNDY, which was then a fancy new club around the corner (now the location of a Marriott Springhill Suites).

Soundgarden was arguably Seattle’s biggest band at that point (Alice N’ Chains always felt like they were from the Eastside, anyway), and these two shows were deliberate underplays. Some keep-it-real club dates for their local fans to counter the argument that they’d sold out to the Hollywood metal machine.

I’d been fired from the Offramp a couple of months before—the new owners failed to see how my sarcastic humor made up for being a shitty busboy—but I retained my free-entry privilege for a couple of years, and it extended to the RKCNDY because club staff were an insular and reciprocal tribe then. We all knew each other, and I still know some of those people today.

Anyway, I was at both shows. Up to that point, I’d thought Soundgarden was a little bit on the “slightly out-of-tune metal” side of the Seattle music scene, but I went because that’s what we did then: go to shows. There was absolutely nothing else to do in Seattle but get high and make art. No one I knew owned a car, so we couldn’t even get high in Wallingford without taking the bus. 

Bands were so varied then: Posies, Young Fresh Fellows, Girl Trouble, Hammerbox, Sir Mix-a-Lot, Fastbacks, Treepeople, Tad, the Walkabouts, the Gits, Screaming Trees, Skin Yard, Love Battery, Gas Huffer, The Accused. There was no “Seattle sound.” The only common denominator was that everyone was slightly out of tune, except Mix.

I showed up and the Offramp was completely, ridiculously packed, flouting the firecode and human decency. Shit, they could sell 200 more tickets on a night like that if no one got uptight about potentially dying of suffocation. Humid, filled with the stench of cigarettes, bleach water, leather and punk/hippies. It was a shitty town then, did I mention? No safe spaces of any kind.

Then, Soundgarden.

Immediately it was obvious they were at escape velocity, bigger than us now. I’d been seeing 15 bands a week for a straight year and no one put their foot down like this. Chris had been doing the shirtless metal frontman thing for a long time but now he was playing guitar, and it felt serious. They opened with "Birth Ritual" and the room went bananas. I mean, the room went bananas. You’ve seen pictures from the era, I’m sure. People flying through the air.

At the center was Chris Cornell, serious, relaxed and funny, like the generous older brother I desperately wished I’d had. The band was not being ironic, which seemed RADICAL. I fell completely in love. Obviously he was beautiful, and I’d dismissed him as a pretty boy, but I was wrong. He wasn’t a hair-metal poodle, he was something else entirely. No one could ever say exactly what after that.

At one point a girl ran up on stage and kissed him. She cried joyfully as security gently escorted her offstage. I remember her being pretty, dressed in the uniform of that defined our time—floral babydoll dress and combat boots. I was impressed by the weird, dark Beatlemania of it, but then Chris commented gently, “Hey, If I was a female singer and that had been a dude, it wouldn’t have been cool, would it?” In essence, he was saying, “Maybe I'm a sex symbol to you, but I’m a person and I’m at work.” Meanwhile over on MTV, Warrant was singing about "Cherry Pie" and spraying a bikini model with a fire hose. It was a sea change of attitude here that felt like an insurrection.

I went to the RKCNDY the following night because I was converted, and in that markedly different venue, they succeeded in blowing up the room again. People went bananas and flew through the air. I knew I’d witnessed something. They weren't out of tune any more, and being out of tune didn’t feel as necessary all of a sudden.

Those two September '91 shows happened at the apex of the corner, a two month period when Seattle went boom, falling right in the middle of a few-month span that saw the release of some seminal grunge releases: Mudhoney's Every Good Boy Deserves Fudge (July 23), Pearl Jam's Ten(August 27) and Nirvana's Nevermind (September 24). You could argue about the high point forever, but for me that was the peak.

John Roderick is a Seattle writer, musician (lead singer and guitarist of The Long Winters as well as occasional guest player in various other groups, including Death Cab for Cutie and Nada Surf), podcaster (Roderick on the Line with Merlin Mann), and one-time Seattle City Council candidate.